On Bolero, I just wrote this long post in the Kamila Valieva thread. I think people are neglecting that the costuming doesn't elevate her and kind of works against her during the more empty parts. Her image on the ice is as big an issue as any choreography. I think the droning music is a problem but that can only be solved by changing the program.
Storm was great... but this new short program is better. I think the music does a better job tying the elements together and it allows for skating bigger in the step sequence. There's no jerky arm movement here which she's kind of had in other programs. I know this isn't the final dress, but I really, really liked this long dress with this program. They way it flowed was like it was interpreting the music in itself. I kind of worry that the the way she starts the program with moving her head could lead towards the timer being started early and thus a time violation. I think the very beginning and the end of the step sequence could be improved upon with perhaps with different choreographer's eye. I have zero doubt whatsoever that this program will beat Kostornaia's WR which is at 85.45.
I just rewatched the long program hoping it would come across better. And I just don't think it's a good program. The movement alternates between being too abstract, too literal, too jerky, too empty. When doing the big elements there's going to be some emptiness but the music just drones on and on and it becomes really annoying. The choreographic sequence is kind of blah and ta-da-ish, but shows she could do a great one if given the opportunity. There has been practically zero effective use of spirals in Russian programs since Lipnitskaya and Sotnikova at the 2014 Olympics. The energy level throughout is just kind of mellow and meh. The step sequence is very workmanlike. Capable, but it does not have elation the moment and music calls for.
But subconsciously, I honestly think the costuming, more than anything else, may be what is turning many off from the program. The costume looks like a Halloween costume of a marching band outfit put together by someone's grandmother. Half covering the boots with black tights looks sloppy. It's the opposite of elevating and it's a bit unbelievable that this would be the image they would want to be best known for. The lack of striking image is what may be deflating the program from the beginning.
I'm not sure how a long dress interferes with doing the quads, but a flowing long dress like the one used in the SP could help give the eyes something to focus on during the more empty parts. And just overall, it gives the eyes more to focus on. I find that a long flowing dress to almost act as extra pair of arms interpreting the music. It leads to a fuller appearance and the program gets a bit drier when that's lost. I think an overly literal and theatrical costume should take a backseat to just being beautiful on the ice. If they stick with Bolero, I'd perhaps looks for some inspiration in steampunk or gothic fantasy dresses.
Valieva should own the long flowing dress like Zagitova owned the tutu.
Valieva's LP is not as bad as the long program Evgenia first used and then dumped during the Olympic season. But in it's current form, it's also not as good as Zagitova's LP which had some charm, a strong image, and steadily building energy to it. But LP was lacking in a few obvious ways and the aspiration should be to go way beyond it. Zagitova's LP at the Olympics is the least viewed of 2018 Olympic winners for a good reason IMO... OTOH, she has the most instagram followers.
Valieva should want a program and striking image that will help put her over when both she and Trusova go clean... or keep her medaling over Rika/Alysa/Young if she rotates everything but has a couple of falls. I don't think this is it.
A fierce performance. When you ear the public applaud even before the end of the step sequence, you know it's good. Morozov is a good choreographer.
This performance deserved more than 73.
I have some thoughts about Anya's FS program. According to my interpretation, its structure is based on the structure of the narrative of Mikhail Bulgakov's novel "The Master and Margarita"
The program is built according to the usual scheme for Eteri/Daniel in the FP - three musical themes that tell a story.
The first part: sad Margarita suffering from separation from the Master and the fact that she does not know where he is and what is with him (he is in a mental hospital because of a nervous breakdown that arose due to the pressure of Soviet criticism about his novel about Jesus, or rather Pontius Pilate).
The second part: a desperate Margarita becomes a witch - it follows a flight over Moscow at night, then the ball of Woland (Satan), where she agrees to become the queen of the ball in the hope of seeing the Master again.
The third part: Woland fulfills Margarita's wish, she is reunited with the Master. Their fate is coming to an end - a farewell to Moscow on the Sparrow Hills, a farewell to the old life, a departure beyond the edge of the earthly world, to a place where the Master is "rewarded with peace (quietness)" **
Since I have read the novel (like most Russian-speakers), I perfectly understand, at least in general terms, the idea of the creators of the program. Personally, I really like this program and it makes a strong impression on me. But what about non-Russian-speaking users? Russian-speaking people, take a look through the eyes of a foreign viewer. For that person, it looks like this - Anya first skate something tenderly sad, and suddenly crazy lights light up in her eyes and the music completely unexpectedly changes to a solemn and anxious one, and in the final part the music again turns into a heartbreaking dramatic mood. "What is it? What's going on?".
My question to everyone is whether Anya's program is too Russian-centric? Wasn't this a miscalculation when targeting an international audience?
"He has read the Master's work," Levi Matvey began, "and asks you to take the Master with you and reward him with peace. Is it really difficult for you to do this, spirit of evil?"
"It's not difficult for me to do anything," Woland replied, "and you know it well." He paused and added: "And why don't you take him to yourself, to the light?"
"He didn't deserve light, he deserved peace," Levi said in a sad voice.
"Tell Him that it will be done," Woland replied, and added, with a flash in his eye: "And leave me immediately."
I have some thoughts about Anya's FS program. According to my interpretation, its structure is based on the structure of the narrative of Mikhail Bulgakov's novel "The Master and Margarita"
The program is built according to the usual scheme for Eteri/Daniel in the FP - three musical themes that tell a story.
The first part: sad Margarita suffering from separation from the Master and the fact that she does not know where he is and what is with him (he is in a mental hospital because of a nervous breakdown that arose due to the pressure of Soviet criticism about his novel about Jesus, or rather Pontius Pilate).
The second part: a desperate Margarita becomes a witch - it follows a flight over Moscow at night, then the ball of Woland (Satan), where she agrees to become the queen of the ball in the hope of seeing the Master again.
The third part: Woland fulfills Margarita's wish, she is reunited with the Master. Their fate is coming to an end - a farewell to Moscow on the Sparrow Hills, a farewell to the old life, a departure beyond the edge of the earthly world, to a place where the Master is "rewarded with peace (quietness)" **
Since I have read the novel (like most Russian-speakers), I perfectly understand, at least in general terms, the idea of the creators of the program. Personally, I really like this program and it makes a strong impression on me. But what about non-Russian-speaking users? Russian-speaking people, take a look through the eyes of a foreign viewer. For that person, it looks like this - Anya first skate something tenderly sad, and suddenly crazy lights light up in her eyes and the music completely unexpectedly changes to a solemn and anxious one, and in the final part the music again turns into a heartbreaking dramatic mood. "What is it? What's going on?".
My question to everyone is whether Anya's program is too Russian-centric? Wasn't this a miscalculation when targeting an international audience?
"He has read the Master's work," Levi Matvey began, "and asks you to take the Master with you and reward him with peace. Is it really difficult for you to do this, spirit of evil?"
"It's not difficult for me to do anything," Woland replied, "and you know it well." He paused and added: "And why don't you take him to yourself, to the light?"
"He didn't deserve light, he deserved peace," Levi said in a sad voice.
"Tell Him that it will be done," Woland replied, and added, with a flash in his eye: "And leave me immediately."
I didn't know the story you told, but for me it won't matter as I think Anna is such a wonderful performer and always draws you into her performances. At least she does that to me. I loved this music for her this season and I think it will be great. Wasn't too keen on last year's music, but in the end it didn't matter as she performed the hell out of it anyway.
I have some thoughts about Anya's FS program. According to my interpretation, its structure is based on the structure of the narrative of Mikhail Bulgakov's novel "The Master and Margarita"
The program is built according to the usual scheme for Eteri/Daniel in the FP - three musical themes that tell a story.
The first part: sad Margarita suffering from separation from the Master and the fact that she does not know where he is and what is with him (he is in a mental hospital because of a nervous breakdown that arose due to the pressure of Soviet criticism about his novel about Jesus, or rather Pontius Pilate).
The second part: a desperate Margarita becomes a witch - it follows a flight over Moscow at night, then the ball of Woland (Satan), where she agrees to become the queen of the ball in the hope of seeing the Master again.
The third part: Woland fulfills Margarita's wish, she is reunited with the Master. Their fate is coming to an end - a farewell to Moscow on the Sparrow Hills, a farewell to the old life, a departure beyond the edge of the earthly world, to a place where the Master is "rewarded with peace (quietness)" **
Since I have read the novel (like most Russian-speakers), I perfectly understand, at least in general terms, the idea of the creators of the program. Personally, I really like this program and it makes a strong impression on me. But what about non-Russian-speaking users? Russian-speaking people, take a look through the eyes of a foreign viewer. For that person, it looks like this - Anya first skate something tenderly sad, and suddenly crazy lights light up in her eyes and the music completely unexpectedly changes to a solemn and anxious one, and in the final part the music again turns into a heartbreaking dramatic mood. "What is it? What's going on?".
My question to everyone is whether Anya's program is too Russian-centric? Wasn't this a miscalculation when targeting an international audience?
"He has read the Master's work," Levi Matvey began, "and asks you to take the Master with you and reward him with peace. Is it really difficult for you to do this, spirit of evil?"
"It's not difficult for me to do anything," Woland replied, "and you know it well." He paused and added: "And why don't you take him to yourself, to the light?"
"He didn't deserve light, he deserved peace," Levi said in a sad voice.
"Tell Him that it will be done," Woland replied, and added, with a flash in his eye: "And leave me immediately."
It may be too Russian-centric, I am not familiar with this story. Unlike Anna Karenina, which is much more famous worldwide, or even Eugene Onegin (which is known but still not as famous as Anna Karenina in the English speaking world).
Agreed, never really understood what people liked about her. You know, Kostner used to be known as someone who had no artistic ability and was all jumps, but then after she got older she suddenly became seen as some great artistic talent...
I think that this is more or less the trajectory of every successful skater. They first come to our attention as youthful jumping beans and then add refinements.
I have some thoughts about Anya's FS program. According to my interpretation, its structure is based on the structure of the narrative of Mikhail Bulgakov's novel "The Master and Margarita"
The program is built according to the usual scheme for Eteri/Daniel in the FP - three musical themes that tell a story.
The first part: sad Margarita suffering from separation from the Master and the fact that she does not know where he is and what is with him (he is in a mental hospital because of a nervous breakdown that arose due to the pressure of Soviet criticism about his novel about Jesus, or rather Pontius Pilate).
The second part: a desperate Margarita becomes a witch - it follows a flight over Moscow at night, then the ball of Woland (Satan), where she agrees to become the queen of the ball in the hope of seeing the Master again.
The third part: Woland fulfills Margarita's wish, she is reunited with the Master. Their fate is coming to an end - a farewell to Moscow on the Sparrow Hills, a farewell to the old life, a departure beyond the edge of the earthly world, to a place where the Master is "rewarded with peace (quietness)" **
Since I have read the novel (like most Russian-speakers), I perfectly understand, at least in general terms, the idea of the creators of the program. Personally, I really like this program and it makes a strong impression on me. But what about non-Russian-speaking users? Russian-speaking people, take a look through the eyes of a foreign viewer. For that person, it looks like this - Anya first skate something tenderly sad, and suddenly crazy lights light up in her eyes and the music completely unexpectedly changes to a solemn and anxious one, and in the final part the music again turns into a heartbreaking dramatic mood. "What is it? What's going on?".
My question to everyone is whether Anya's program is too Russian-centric? Wasn't this a miscalculation when targeting an international audience?
I don't think so, is she tapping into a story that not a lot of people know, yes, but she's a great performer (to most people) and honestly to the general audience its not going to matter the theme of the novel, as long as the music is decent and is well performed. Its kinda funny that the question is now being posted did a Russian skater pick something too Russian; isn't the general complaint that happens with music is pandering to the audience like Samodurova picking Mulan? Or that we as figure skating fans complain about skaters lack of originality in music and too many warhorses - well here's a skater/coaching team that picked a fairly unique piece of music (Requiem is more well known, kind of a warhorse?) and now there's concerns that someone went with unique music that isn't some pop piece.
But in terms of calculations - let's not forget to get to the big competitions Europeans/Worlds/Olympics, she's gotta get through Russian Nationals - perhaps that was the calculation they looked at since that's where her fiercest competition is going too be.
I've been thinking, and I think that Kamila should go back to the Girl on a Ball for the SP. It really could be an iconic Olympic program and since it looks like Bolero is here to stay, I think she needs to be in a whole different class than the others in the SP. That way, in the audience's mind (and by extension the judges) she just screams OLYMPIC CHAMPION. That should help her scores in the LP I would think. I don't know, it's just that I've pegged her for OGM since 2018 and she IS in a different class than the others. I expected some knockout programs. This SP is nice, but it's just pretty-pretty, plus that long dress takes away her superior lines. I just think that GirlonaBall would help her distance herself from the other skaters artistically, including Anna. It *was* Eteri's favorite program that year after all.
Haven't been on here in a while, but I just noticed that the entire Ice Age podium of 2018 will be making their debuts together now that Berestovskaia is subbed in at the next JGP stage. Akatieva, Zinina, and Berestovskaia all competing against each other again! And Samodelkina thrown in for good measure!
Haven't been on here in a while, but I just noticed that the entire Ice Age podium of 2018 will be making their debuts together now that Berestovskaia is subbed in at the next JGP stage. Akatieva, Zinina, and Berestovskaia all competing against each other again! And Samodelkina thrown in for good measure!
I wouldn't say so, the program's theme was obvious to me via the three phases of the music, and some of the choreography and performance. People may not know the finer details of the source material, but that's usually OK.
She is really going all out, she has had a 4S since last season so im exited to see if she can land it. Its basically a all or nothing lay out tho, she can win by a mile or if she falls too many times with 4 more girls capable of ultra c jumps competing here she can miss the podium.
I have some thoughts about Anya's FS program. According to my interpretation, its structure is based on the structure of the narrative of Mikhail Bulgakov's novel "The Master and Margarita"
The program is built according to the usual scheme for Eteri/Daniel in the FP - three musical themes that tell a story.
The first part: sad Margarita suffering from separation from the Master and the fact that she does not know where he is and what is with him (he is in a mental hospital because of a nervous breakdown that arose due to the pressure of Soviet criticism about his novel about Jesus, or rather Pontius Pilate).
The second part: a desperate Margarita becomes a witch - it follows a flight over Moscow at night, then the ball of Woland (Satan), where she agrees to become the queen of the ball in the hope of seeing the Master again.
The third part: Woland fulfills Margarita's wish, she is reunited with the Master. Their fate is coming to an end - a farewell to Moscow on the Sparrow Hills, a farewell to the old life, a departure beyond the edge of the earthly world, to a place where the Master is "rewarded with peace (quietness)" **
Since I have read the novel (like most Russian-speakers), I perfectly understand, at least in general terms, the idea of the creators of the program. Personally, I really like this program and it makes a strong impression on me. But what about non-Russian-speaking users? Russian-speaking people, take a look through the eyes of a foreign viewer. For that person, it looks like this - Anya first skate something tenderly sad, and suddenly crazy lights light up in her eyes and the music completely unexpectedly changes to a solemn and anxious one, and in the final part the music again turns into a heartbreaking dramatic mood. "What is it? What's going on?".
Thank you for this explanation, it was exactly as you say, I was genuinely confused during the program. It's obvious she's telling a story but I think the main thing is that the change in emotions is quite abrupt and an unusual combination. It's a very different structure from the typical figure skating program - it goes from sad to crazy to sad again - whereas normally we have sad, rousing, dramatic.
I love the fact that she's skating to something distinctly Russian though and, now knowing the background to it, I may be able to appreciate the program more.
She is really going all out, she has had a 4S since last season so im exited to see if she can land it. Its basically a all or nothing lay out tho, she can win by a mile or if she falls too many times with 4 more girls capable of ultra c jumps competing here she can miss the podium.
